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Copyright of Recherches Sociographiques is the property of Recherches Sociographiques and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Positioning ourselves at the intersection between the materialization of the idea of love, proposed by the new materialism and transhumanism, and the changes in the manifestations of love, induced / brought forward by social media platforms, this essay analyzes the hypostases of contemporary love, at the same time carrying out a deconstruction (in the proposed sense by Jacques Derrida) of the traditional concept of Eros. The essay aims to address a fundamental question related to a possible future of the notion of eros in a digitized space, where the rules of the game are changing: where does Eros remain in the digital age, caught between contemporary materialism and the algorithms of social platforms? Is this the beginning of the end of a myth of eternal love, or is it just the end of a simulation that can easily cross from erotic to digital? [ABSTRACT FROM AUTHOR]

Copyright of Two Homelands / Dve Domovini is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Embracing the dual identity of artist with therapist is valuable for dramatherapists, particularly when addressing the issue of fitness to practice. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin Hispanique is the property of Universite de Bordeaux III (Michel de Montaigne), Institut Hispanique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A "good-enough mother" (or parent) is one who adapts herself to her baby's needs and can identify with them in their initial stage of absolute dependence, including pregnancy (Winnicott, 1965). Abortion survivors are people who have experienced the threat of being aborted, either from a direct physical attempt, or from living in an unwelcome prenatal environment in which abortion was consciously or unconsciously contemplated by one or both parents. The current article describes how an artist was torn between the sense of rejection by his mother, who wanted to have an abortion, and his Holocaust-survivor father's determination to protect the pregnancy and be a "good-enough" parent. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to study the relationship between art and the esthetics of the Beautiful and the Ugly, by the analysis of paintings of the masters of Verismo, such as Gerolamo Induno and Giovanni Fattori. In the meaning of the terms "Beautiful" and "Ugly", we find that beauty means splendor and charm, while the definition of ugliness refers to something terrible and disgusting. The development of the esthetics of Bello and Brutto from one century to another depends on the vision of the artists, who, thanks to their artistic activities, have provided us with a clear tool to understand their expressive message through the use of their language pictorial. It is therefore possible to reconstruct the history of Italian art through the study of esthetics, in which we can say that the Beautiful is opposed to the Ugly. From this dichotomy, cited in all the definitions of Italian artists, we can analyze the idea of esthetics to study Italian Verismo in paintings that include political and military contents in the nineteenth century. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Histoire Moderne & Contemporaine is the property of Societe d'Histoire Moderne et Contemporaine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The name of Thomas Baines (1820-1875) is well known in the realms of art and exploration, and his nearly 400 extant oil paintings, watercolors, and sketches form one of the most important contributions of all time to South African art. What is less known is that he was also a competent cartographer who left behind an important legacy of route maps of the inner regions of the then unknown nineteenth-century southern Africa. This facet of his oeuvre has received scant attention in his biographies, and the two articles which deal with his cartographic endeavors, are both limited to discussions of his manuscript maps of the Route of the Gold Fields Expedition to Matabeleland of 1869-1872. This paper attempts to give a more complete account of Baines's cartography and discusses his cartographic work as an integral aspect of his life as a resourceful explorer who mapped parts of the South African landscape with the same dedication he bestowed on his artworks. [ABSTRACT FROM AUTHOR]

Highlights • Differences between EEG signals of visual artists and non-artists were investigated using a wide range of EEG features. • A similarity in the studied features was observed between the visual perception and the mental imagery tasks of each group. • The effective distinctive EEG features were selected using genetic algorithm. • Neurofeedback training protocols were proposed for performance improvement of novice visual artists. Abstract Differences in brain signals between skilled and non-skilled individuals led to the idea of using neurofeedback (NFB) in order to imitate brain activity patterns in skilled individuals, reinforce performance of novice people, and ultimately help them in terms of achieving skills in a faster manner. This study shed light on visual skills and aimed at designing a NFB training protocol specifically enhancing the performance of novice visual artists. For this purpose, a set of features (energy, mean and standard deviation of wavelet and cepstral coefficients, wavelength, the first zero crossing of autocorrelation function, correlation and fractal dimensions, approximate and sample entropy and scaling exponent) of EEG signals recorded from two groups of visual artists and non-artists were obtained during observation and mental imagery of several images. Then, the most effective distinctive features of the two groups and the associated channel were established by means of genetic algorithm. Fitness function in genetic algorithm was also defined using Mann-Whitney U test and Davies-Bouldin index (DB). Finally, the increase in the first zero crossing of the autocorrelation function in C4 channel was proposed as the protocol enhancing visual perception performance. Moreover, increased approximate entropy (ApEn) in Fp1 channel was suggested as a protocol for enhancing mental imagery among novice visual artists. [ABSTRACT FROM AUTHOR]

This article explores the intertextual relations between Faust, by Johann Wolfgang von Goethe, and two texts by Apel·les Mestres: the poem and the drama Gaziel (from 1891 and 1909, respectively). The influence of German literature on Mestres, and particularly of Goethe and Heine, is such that Gaziel can be regarded as a direct reproduction. The fact that Gaziel, Faust's parallel, is a Poet frames the work as part of the debate on the Artist, which was a feature of Catalan Modernisme, and relates to Mestres' status as a complete man of letters - draftsman, musician, poet, playwright and prose writer - which was made abundantly clear by the magnificent illustrations of the poem's first edition. The ironic relationship between Mephistopholes and Gaziel provides the basis for an analysis of the function of the devil in the two works and the game of complicities that Mestres constructs around his character. [ABSTRACT FROM AUTHOR]

Art, writing, staying active, and maintaining a positive attitude have served the author well after diagnosis of breast cancer. Self-care is really the best medicine. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

No extensive research has been designed to study neurofeedback training protocol to improve performance of novice visual artists although many neurofeedback protocols have been designed to enhance the performance of novices in the other domains. In this article, differences between multichannel EEG signals of visual artists and non-artists are investigated during visual perception and mental imagery of some paintings using PSD (power spectral density) analysis to propose some neurofeedback training protocols for performance enhancement of novice visual artists. In this approach, the relative power values of the EEG signals are calculated in the traditional frequency subbands (delta, theta, alpha, beta and gamma). Genetic algorithm is used to select effective discriminative features and their related appropriate channels. Fitness function of the genetic algorithm is defined based on Davies-Bouldin index and statistical Mann-Whitney U test. Therefore, the relative low beta enhancement in Fp1 and F7 is proposed as the neurofeedback training protocol for visual perception performance improvement of novice artists. The relative low beta increase in Fp1 is also proposed as the neurofeedback training protocol for enhancing mental imagery performance of the novices. Since, the brain frontal region is closer to the sources of ocular artifacts as compared to the other brain regions, two neurofeedback training protocols are also proposed in the other brain regions (parietal, central, temporal and occipital). The alpha/theta decrease in T6 and the relative low beta enhancement in T5 are also proposed for visual perception and mental imagery performance improvements of the novices, respectively. It is also recommended that the proposed neurofedback training protocol for mental imagery performance enhancement is verified to the relative low beta increase and the alpha decrease in T5 to ensure the proposed protocol provides the necessary spectral changes in the novices. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Governance Review / Revue Gouvernance is the property of University of Ottawa, Center on Governance and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective To explore the influence of the Amulet artwork and exhibition on midwifery students' perceptions of caring for parents experiencing perinatal death. Design A descriptive qualitative design involving face-to-face semi-structured interviews following institutional ethical approval. Setting A regional Maternity Hospital in Ireland which hosted the National Artwork and Exhibition exploring the hidden world of infant death. Participants A purposive sample of six consenting post registration midwifery students who had attended the Amulet artwork and exhibition. Findings Four core themes emerged and these were i) entering the mother's world and hearing her pain; ii) the journey of grief and connecting with the bereaved parent's unique experience; iii) facing the challenge of providing effective perinatal bereavement care; and iv) maintaining a journey of compassionate practice. Conclusion and implications for practice Exposure to, and reflection on the Amulet artwork and exhibition increased students' awareness and insight into the non-linear nature of the grieving process, and to the importance of maintaining a journey of compassionate care for parents experiencing perinatal death. The findings suggest that the use of creative women-centered strategies promote affective learning in relation to perinatal death and so may be of use to educators and maternity care providers. [ABSTRACT FROM AUTHOR]

An interdisciplinary research team at New York University recently launched theArtist Archives Projectto advance research on information repositories for the display and conservation of contemporary art. The initiative responds to a growing need for museum and archive professionals to work with artists in documenting their production methods, and building knowledge for future treatment and re-activation of their work. The first undertaking of theArtist Archives Projectis to create an information resource devoted to the multidisciplinary artist/activist David Wojnarowicz. Project researchers are working in conjunction with curators at the Whitney Museum of American Art who are preparing for a Wojnarowicz exhibition, along with others familiar with his work. Since the artist is deceased, most of the information comes from archives, publications, and interviews with people who knew and worked with him. The project takes a digital humanities approach by assigning equal emphasis to the content and the database/web portal design. The resource contains technical and historical information about the artist's films, video, photography, paintings, drawings, and performance work. The research team creates transcripts from interviews, annotated guides to other resources, and information regarding the challenges of exhibiting and conserving his work. In addition to artist-specific resources, the project aims to stimulate discussion on topics that underlie curating and conserving contemporary art, including authorship, authenticity, and the ethical responsibilities of curators and conservators. In this article the authors describe the goals, methodologies, and initial results of the project. [ABSTRACT FROM AUTHOR]

Copyright of Hacettepe University Journal of Education is the property of Hacettepe University Journal of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent research has revealed that a considerable amount of previously unknown and unpublished information is buried within artists' responses to Coalbrookdale and particularly the Iron Bridge. This paper is a reappraisal of some of those works, especially by Francis Vivares, Thomas Farnolls Pritchard, Elias Martin, John Edmunds, William Williams and Edward Edgcombe. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research on creative artists has examined mainly their personality traits or cognitive abilities. However, it seems important to explore also their emotional traits to complete the profile. This study examines two emotional characteristics: alexithymia and affect intensity. Even if most research suggests that artists are less alexithymic and experience more intensively their emotions, Botella, M., Zenasni, F., and Lubart, T. ( Psychology of Aesthetics, Creativity, and the Arts, 5, 251, 2011) observed that art students were as alexithymic as psychology students and more alexithymic than a normative population. The aim of this study was to examine these issues with artists and non-artists and to compare artists to art students. Results indicate that artists are less alexithymic and present higher affect intensity than non-artists. Moreover, results show that art students present more difficulties processing their emotions than artists. [ABSTRACT FROM AUTHOR]

Assumption regarding the relationship between creativity and mental disturbances has attracted academic and public interest from antiquity. Research performed in recent years, support these associations and show a disproportionately high rate of mental illnesses, especially bipolar disorder, in creative individuals. In this article, we give another example of this link by describing the life and works of a Lithuanian composer, painter, and poet Mikalojus Konstantinas Chiurlionis (1875-1911) (Lithuanian transcription-Čiurlionis). This relationship is demonstrated graphically, which enables to see a link between his mood fluctuations and quantity of Chiurlionis' works. Chiurlionis lived in the complex period with its turbulent whirl of changing trends in art doubtlessly influenced his art. Chiurlionis had synesthesia and he was one of the first who tried to join music and painting in a synthesis of the arts. Significant components of his work are related to Symbolism. Chiurlionis lived very short life-only 36 years, but during his life, he created over 200 musical works, and painted about 300 canvases. His compositions were romantic and nationalist in spirit, sometimes inspired by Lithuanian folklore and his best work is thought to be his 'musical paintings'. For many years, they were virtually unknown outside his motherland. While it was well-known that Chiurlionis died in a sanatorium for mental ill, almost nothing was written about his mental illness. The purpose of this study was to demonstrate that the Chiurlionis' illness (bipolar affective disorder) and his creative output in music and paintings were connected. [ABSTRACT FROM AUTHOR]

In this paper, I present Two Leaves and a Bud as a novel on social exploitation, full of violence and bitterness. It describes the hazardous life of Gangu, an indentured labourer, in an Assam Tea Garden owned by a British man. The theme is bitterness, violence and exploitation which makes our blood boil about the injustice done to the poor coolies. Anand's writing is full of disgust and hate. The angry young man in Anand is more evident than the artist. The gift of Mulk Raj Anand's imagination and his gentle and humane sympathy for his subject adds a new dimension in sensitivity to contemporary literature. [ABSTRACT FROM AUTHOR]

This article examines the degree to which Australian ethnic minority artists possess or do not possess the career capitals necessary to develop their artistic journey. We listened to stories of career experiences that show how artists learn to negotiate their way by developing their career paths. The study found that ethnic minority artists possess more cultural capital than economic and social capitals, thus limiting their career to attain hierarchy and power in creative institutions. Ethnic minority artists can use strategies to manage career, boosting economic, social capitals and to a lesser extent cultural capital. This article adds to the current literature on the utility of Bourdieu’s forms of capital, contextualising voices of artists to account for their experiences in managing the process of advancement which both facilitates and limits their career-related opportunities. [ABSTRACT FROM AUTHOR]

Copyright of Mana (01049313) is the property of Contra Capa Livraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Our study aims to identify and analyse death in art by using some of the canonical texts of the beginning of the 20th century: Austrian writer Hugo von Hofmannsthal's two plays in verse, Der Tod des Tizian and Der Tor und der Tod, Thomas Mann's Der Tod in Venedig and Marcel Proust's Á la recherche du temps perdu. Beyond its inevitable decadent heritage, one may observe the way these representations feed on images, situations, thoughts, in order to show, to bring into the light what escapes in the absence, to the shadows. We also suggest that this quest - which leads to the metamorphosis of the individual into artist - is reflected by the spatial organisation of an imaginary city. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: This paper reports an Early Years Foundation Stage (EYFS) Creative Partnerships project. This comprised three stages: professional development of artists and teachers at an experimental lab; artists’ residencies in Foundation Stage classes; and evaluation of the experience by the artists, teachers and researchers of achievements made. An inspiration for the project was the Reggio Emilia approach of northern Italy that emphasises design and physical arrangements in space; valuing collaboration among all adults, the teacher (educatore), artist or art educator (atelierista) working together and pedagogue (pedagogista) who provides leadership; documentation and reflections on artistic experiences and ample support by art resources. A case study approach using multiple sites and multiple methods was adopted. Results showed relationships among creative activities, collaborative actions of artists and teachers and actions and responses of children. Multiple perspectives identified by Creative Partnership representations were seen as a means to free up the curriculum by head teachers, a form of inter-disciplinary sharing of ideas by artists and, by teachers, a complex three-way learning relationship between children, artists and teachers that was vital for children's learning. The project team created an equal partnership in negotiation, debate and reflexivity, the teacher became a learner and active participant in collaborative art practices in which children appeared to be developing autonomy and other modes of thinking. The aspiration was longer-term change in understanding of learning, knowledge and skill acquisition within the community of learners. [Copyright &y& Elsevier]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arhivi is the property of Arhivsko Drustvo Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The requirements for, and assessment of, suitable fabrics for artist canvas and for the structural reinforcement of easel paintings on canvas are presented. Crucially, the aesthetic and kinaesthetic, as well as physical properties of the canvas fabrics have been taken into account. To evaluate the fabrics the following properties were measured: stiffness, ultimate tensile strength, moisture response, crimp, drape, and lustre. Fabrics investigated include cotton, linen, polyester, polyamides, and carbonized fibres. Although polyester is yet to match linen or cotton kinaesthetically or aesthetically, overall it exhibits the best combination of properties. However, the results have shown that even when raw fibre material has suitable properties the finished wovThe requirements for, and assessment of, suitable fabrics for artist canvas and for the structural reinforcement of easel paintings on canvas are presented. Crucially, the aesthetic and kinaesthetic, as well as physical properties of the canvas fabrics have been taken into account. To evaluate the fabrics the following properties were measured: stiffness, ultimate tensile strength, moisture response, crimp, drape, and lustre. Fab-ics investigated include cotton, linen, polyester, polyamides, and carbonized fibres. Although polyester is yet to match linen or cotton kinaesthetically or aesthetically, overall it exhibits the best combination of properties. However, the results have shown that even when raw fibre material has suitable properties the finished woven fabric may not. This is because of the strong influence of the woven geometry on the final behaviour. It has been found that drape and lustre are very good properties to quantify some aspects of the feel and look of fabrics, in the context of conservation, and to provide a common language to ensure that the specification incorporates these aspects. en fabric may not. This is because of the strong influence of the woven geometry on the final behaviour. It has been found that drape and lustre are very good properties to quantify some aspects of the feel and look of fabrics, in the context of conservation, and to provide a common language to ensure that the specification incorporates these aspects. [ABSTRACT FROM AUTHOR]

Copyright of Societes is the property of De Boeck Universite and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)